[Timothy C. Tyler]

If I may make a general remark, I'd say just learn how to conquer any of these background challenges and make them work for you. Sargent, Zorn and yes R. Schmid handle this well. One key is to soften the intersecting point; letting one shape, normally the one in the fore, be much crisper and blur (or deny) the other so as to eliminate the linear intersection.

In portraits, lines and backgrounds can really add power to a work. I admire strong works that use the lines and shapes to the artist's advantage. I think you can make the rail work but it will take some effort. If you were to mirror the rail and place it on the other side I think you like that better and don't worry about the eyes exactly-the force will be with you.